The West Doors
The PAINTINGS ABOVE THE WEST DOORS are the work of Dr Suan-Seh Foo, a medical doctor, noted liturgical artist, and practising Anglo-Catholic in Toronto.
The central panel depicts Our Lord reigning in glory, with attendant worshipping angels. S. Clement is shown holding a model of our church, wearing the papal tiara and clothed in the S. Clement cope made here by the embroidery guild in the last century. S. Catherine of Alexandria, the minor patron of this parish, is shown with her broken catherine wheel and a sword.
The panel near the font depicts the three sleeping magi receiving the dream in which an angel advises them to return home by another way. This reference to departures is also echoed in the third panel, which depicts the aged Simeon welcoming the Christ Child, Our Lady, and S. Joseph into the Temple, and crying “Nunc dimittis…”, and is meant as a pun on the fact that the panels are over the doors leading out. Also in this panel is the aged prophetess Anna, depicted in the habit of the All Saints Sisters, whose home in this parish since 1880 has been named S. Anna’s.
Dr Foo was assisted in framing and gilding by the Bulgarian-Canadian iconographer and restorer, Roumen Kirinkov. The paintings were installed and blessed in February 2000 by Fr. Swain.
The central panel was erected by the parish as a memorial to George W. Day, an extremely generous benefactor, sidesman, and devout member. The left panel was given in memory of Brian V. Saderholm, vestryman and deeply committed property chairman. The right panel was given in memory of Father William Wetherell, curate here from 1938–1943, who returned in retirement and assisted faithfully both here and at the Church of the Annunciation.
The ORGAN was entirely cleaned and renewed in 1996–7 with the addition of several ranks of pipes, including a trumpet en chamade on the west wall and a new console to replace the 1948 model. The 1913 Austin Organ is now in perfect order, and the 1997 console, by Roger Colby of Tennessee, plays it to its best advantage.
A complete history and full specification of the Saint Clement’s Organ can be found by clicking here.
The addition of the TOWER BELLS to the fabric began in the 1980’s. It was always the wish of Father FitzHugh during his Rectorate (1979–1984) that S. Clement’s might make its presence known in the neighbourhood by bells ringing out from its tower. Upon his death, the parish learned of four bells becoming available from the redundant Church of S. James, Atlantic City, NJ. The bells were given to S. Clements by the Diocese of New Jersey and erected in the tower by subscription of the parish. They were blessed by The Rt. Rev’d Albert VanDuzer, Sometime Bishop of New Jersey in 1985. The bells were originally given in memory of the Great War dead of S. James’, and were installed in memory of the Great War dead of S. James’, S. Clement’s, and also Father FitzHugh. Robert Mattis of S. Clement’s was the prime force in their installation and it was fitting that his estate provided for the erection of three additional bells to peal in 2001. These bells were blessed by The Rt. Rev’d Clarence Coleridge, sometime Bishop of Connecticut, and are a memorial to Mr. Mattis’ parents, brother, and his companion J. David Taylor.
In 1916, Horace Wells Sellers, second architect, prepared a scheme for the WINDOWS IN THE NAVE and designed the first of the series which was given in memory of Miss Patty Neill. In 1936, new windows were discussed by Vestry. The matter was thoroughly considered and it was decided that the scheme designed by Mr. Sellers could not be carried out since his plan called for raising the sills of the windows and the building of a solid rearrangement of the stone wainscoting and window frames. This in turn would call for a rearrangement of the heating system because of the resulting need to relocate the radiators.
Sometime later several prominent glass workers were brought to see the Church. The ideas of Charles Connick of Boston were impressive. Designs were submitted but work was not begun unto the Spring of 1940.
Finally, work was completed on the windows, which were dedicated on June 21, 1941, by the Rt. Rev’d Spence Burton, SSJE, Lord Bishop of Nassau and The Bahamas.
In the upper tiers of the window symbolism on the south side of the nave groups or classes of saints are commemorated: Angels, Archangels, Martyrs, Confessors, Bishops, Doctors, Virgins and Abbots. This has been done to commemorate the holy men and women whose names we do not know, but whose unsung sanctity entitles them to share the same glory in Heaven that is enjoyed by others whose names are well-known. The upper tiers on the north side show the symbols of the Twelve Apostles.
The middle series in the window commemorations on both sides is made up largely of holy men and women who appear in the universal kalendar of the Church, but whose life and work is identified with that part of the Western Church that lies within the confines of the British Isles.
The lower series on both sides commemorate saints of the Universal Church during the first eight centuries.
Father Moffett compiled the list of saints to be commemorated. The list was unchanged except for the last six shields of the middle series, north side. Here are commemorated the holy persons closely associated with the Catholic Revival within the Anglican Communion: Keble, Pusey, Mother Harriet, C.S.M., Fr. Benson (the founder of the Society of S. John the Evangelist who also served at S. Clement’s), and Lord Halifax. Also commemorated is Cardinal Mercier of Malines, early œcumenist.
St. John’s Chapel
The current appearance of the ST. JOHN’S CHAPEL reflects renovations completed in the Fall of 1978. A large oak reredos and canopy were removed and a triptych by Davis d’Ambly, a local artist, was placed over the altar. The triptych is painted and gilded in the Italo-Byzantine style–that is in the manner of the transitional stage of Italian painting between the mediæval and renaissance periods. Each saint bears his own attributes in order to clarify his identity. S. Clement bears his anchor and a palm of martyrdom with the City of Rome in the distance. Even the water springing from the rock from the legend of his life appears. S. Catherine stands before Alexandria where she was a princess. At her feet is the broken wheel of her martyrdom and in her hand is a palm.
Naturally Our Lady and S. John stand by the Cross. In the distance is Jerusalem and beneath is an enclosed orchard denoting Our Lady’s perpetual virginity. Behind her stands Gethsemane. The sun and moon have faces which weep at the sadness of the moment.
The LADY CHAPEL was blessed February 2, 1915, the Feast of the Purification, and is the gift of the Boudinot family. The chapel was designed by Horace Wells Sellers and the stonework done by Edward Maene.
The interior of the Lady Chapel is lined with English red stone. It has a beautifully groined ceiling, the ribs carved with lilies of and roses in conventionalized forms, and the central boss showing a quaint Nativity. The altar and reredos are of red stone. Upon the altar front are three shallow niches containing angel figures. The angel in the centre holds the chalice and host, glorified, and the angels on either side carry smoking censers. The reredos is formed of three canopied niches containing statues. The central figure is that of the Virgin and Child, while on either side are S. Joseph and S. Elizabeth with the child S. John the Baptist. The tabernacle door is of wrought iron and copper and shows various symbols of Our Lady including the the Tower of David and the Ark of the Covenant.
The window was designed and executed by Alfred Godwin, after a painting by Gozzoli. Our Lady is represented enthroned holding the Divine Infant; on either side S. Clement and S. Elizabeth, S. Catherine and S. John Baptist kneel adoring the infant Christ while angel figures hover overhead and a jewelled crown is seen descending upon the head of the Virgin. The inscription is a quotation from Isaiah and is one of the antiphons from the office of the Blessed Virgin: Eris corona gloriæ in mane Domini et diadems regni in mans Dei tui. [Thou shalt be a crown of glory in the hand of the Lord and a royal diadem in the hand of thy God.]
Wrought iron gates at the entrance to the chapel and also at the entrance to the Choir and between the chapel and choir are the work of the Yellin Studios of Philadelphia.
The present FONT was executed by Mr. Maene from designs by Mr. Sellers and was blessed September 20, 1917. A font was originally at the foot of the south aisle. When the present Lady Chapel was built, the new font was erected in the liturgically correct position at the entrance to the Church.
Shrine of Our Lady, Queen of All Saints & Mother of Fair Love
In 2002, a SHRINE OF OUR LADY, QUEEN OF ALL SAINTS & MOTHER OF FAIR LOVE, was erected in S. John’s Chapel in memory of Robert Nicely Mattis. The statue was a prized possession of Mr Mattis and he wished it to become part of S. Clement’s upon his death. The statue was conserved and restored by Roumen Kirinkov, who was responsible for the gold leafing on the panels over the west doors in the nave, and a proper pedestal was designed by Davis d’Ambly and built by a professional cabinetmaker. A fabric canopy and hanging in blue complete the shrine.
Statue of St. Catherine
The STATUE OF ST. CATHERINE was aquired by the Parish through the good offices of David Gwesyn Smith. This fine image of late 17th or early 18th century French work was secured in 2006. The statue was in need of considerable restoration and the work of polychroming and gilding was undertaken by Matthew Szczepanowski at his studio on Callowhill Street. It seemed appropriate that this image be restored to a prominent place in the South Aisle. This has required the moving of the statue of King Charles the Martyr to another site, but as S. Catherine gave way to Our Lady, we can hardly feel that Blessed Charles would not rejoice in giving place to a Saint whose cultus was so popular in Catholic England. The new shrine has been designed by Davis d’Ambly, the well-known ecclesiastical artist whose Altarpiece is in S. John’s Chapel. A large part of the woodwork of the shrine has come from the bishop’s chair which had been in the apse of the Church before the erection of the new High Altar and Sanctuary in 1903 in memory of Father Moffett. It has been kept in storage for these hundred years and more and was designed by John Notman, the architect of our Church. The candlesticks at the Shrine are from the Estate of the late Robert N. Mattis, who served as a Vestryman of the Parish from the 1940’s and who devoted much labour to the preservation and beautification of our Church.
Statue & Shrine of Our Lady of Clemency
The STATUE AND SHRINE OF OUR LADY OF CLEMENCY were designed by Wilfred Anthony, an eminent New York architect after suggestions by the Rector, Father Joiner. The woodwork was built by the Mastery Wood Craft Co. of New York, with Henry Beretta as the sculptor. Robert Robbins did the gilding and painting.
Our Lady is shown “clothed with the sun, the moon under her feet, and on her head a crown of twelve stars,” as S. John was privileged to see her in Heaven (Revelation 12.1).
The figure of Our Lady, six feet in height, rests on a polychromed pedestal of octagonal build. Two handwrought candle rings, made by the Ferro Studios of New York surround the base. From behind the figure, highly burnished rays of glory radiate in the shape of a great vesica. Above the statue is a deep valance of delicate wood carving, gilded and painted in mediæval Gothic colours, and surmounted by a tall spire of open woodwork. The overall height of the Shrine is approximately twenty-five feet. During festal seasons, the image is clothed in antique lace and a white damask mantle.
Statue of St. Clement
The STATUE OF ST. CLEMENT was given to the Parish by Father Joiner on the occasion of his silver jubilee in the Priesthood, May 1943. The statue is from Italy and is of wood. Robert Robbins acquired the statue for Father Joiner and also did the polychroming. The statue was originally of S. Nicholas, but became S. Clement with the addition of a small boat, one of his symbols.
Lea Memorial Pulpit & Canopy
The LEA MEMORIAL PULPIT & CANOPY were also carved by Edward Maene from designs by Horace Wells Sellers. The pulpit was erected in memory of George Lea, for many years a vestryman. It was blessed by the famous Bishop Manning of New York on the Sunday in the Octave of S. Clement in 1921. Bishop Manning’s wife was the sister of Mr. Lea. A few years later the canopy was given by the Lea children in memory of their mother. The pulpit was polychromed by Robert Robbins.
The figures are:
- S. George, Patron of England
- S. Clement, Parish Patron
- S. Paul, Apostle, missionary and writer, holding pen and scroll, and sword (both a symbol of his martyrdom and a reference to his Epistle to the Hebrews: “The word of God is sharper than a two-edged sword”)
- S. Denys, Patron of France and of the Lea family, a gargoyle from Notre Dame Cathedral at his feet
- An allegorical figure, showing the Old Testament represented by the broken tablet of the Law and the New Covenant represented by a rustic cross and facing the North Wall
Stations of the Cross
The STATIONS OF THE CROSS in the Church were the last work designed by Mr. Sellers. Both Mr. Sellers and Mr. Maene had died and the Stations were completed by Bruno Zimm, a sculptor who succeeded Mr. Maene. Their installation in 1932 was supervised by Mr. Sellers’son.
In order to erect the present High Altar, it was necessary to raise the dome of the SANCTUARYapproximately fifteen feet. Several lancet windows were placed in the walls at the same time.
Stained glass was installed in the windows on either side of the High Altar in 1941. The window on the Gospel side shows the seals of the Roman Catholic Church, the Eastern Orthodox Church and the See of Canterbury. The window on the Epistle side shows the seals of the Episcopal Church, the Diocese of Pennsylvania and S. Clement’s.
The crucifix over the sacristy door is of Spanish design and the figure of Christ is ivory. The case was specially built to house the Crucifix.
The HIGH ALTAR, of Gothic design, was consecrated on November 22, 1908, by Bishop Webb of Milwaukee, and is a memorial to Father Moffett. The Altar was designed by Horace Wells Sellers and his design was executed by Edward Maene, a gifted Belgian sculptor.
The Altar proper follows the lines of the tablealtars of the early Church and is made of English red stone. The Altar is surmounted by an elaborately carved oak reredos which is designed in the form of a triptych. The central panel shows a large painting of Christ by Frederick Wilson. Our Lord is shown in priestly vestments, reigning from the Cross. This portrayal of Christ the King was a new idea when designed by Mr. Sellers, seventeen years before the feast was instituted. Two kneeling angels hold tapers on either side of Our Lord. The figures of the Blessed Virgin Mary and S. John fill the side panels. The statues carved of wood, on each side of the central panel (from the top down) are:
- S. Michael in armor with his spear thrust through the dragon.
- S. Clement holding his anchor while at his feet are his miner’s tools.
- S. Alban is the young Roman soldier who gave his life for Christ in Britain; he carries the palm of martyrdom.
- S. Augustine of Canterbury, a missionary to England; upon his breast is a flaming heart, typical of his devotion and zeal for Christ, and at his feet the Norman porch of Canterbury Cathedral.
- S. Gabriel holds the lilies of the Annunciation.
- S. Catherine of Alexandria holds her palm of martyrdom; the wheel and sword are at her side
- S. Athanasius is shown with the triangle representing his faith in the Holy Trinity.
- S. Columba, the Celtic monk and missionary was a musician and set the Psalter to music; he carries a harp in one hand and a parchment Psalter in the other, by his side is the little coracle which bore him across the Irish Sea to Scotland.
Directly above the central panel is a figure of the Virgin and Child enthroned. The statues and baldacchino over the reredos were polychromed by Robert Robbins of New York.
Each of the eight statues in the reredos have plaster casts which were made before carving. They are placed throughout S. Clement’s buildings, with the exception of S. Alban the Martyr, on loan to S. Alban’s Church, Olney.
On December 8, 1993, the High Altar was solemnly consecrated with the full traditional rites by the Rev’d Canon Barry E. B. Swain, under license from the Bishop of Pennsylvania. A marble altar stone with relics of Roman martyrs in its cavity was let into our stone altar.